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Robe fixtures light YesLive 2016

Robe fixtures light YesLive 2016
Robe fixtures light YesLive 2016

Show designer Bryan Leitch and lighting director Jamie Thompson from Mirrad chose over 120 Robe moving lights among other fixtures to light YesLive 2016, a showcase music performance and awards event staged at the London Roundhouse. Leitch worked alongside CC Labs who commissioned Mirrad to produce the show design and co-ordinate the visual production including lighting, set and video.

 

Leitch and Thompson started with a series of four 3 x 2 metre ‘scenic’ screens curving around the back of the stage mimicking the curvature of the venue’s architecture. A downstage centre video screen 6 metres wide by 3.5 metres high came in and out on a Kinesys system shielding the stage for changeovers. Lighting, the LED screens and automation was supplied by Colour Sound Experiment.

 

Leitch and Thompson also collaborated closely with TV lighting designer Ben Everett, as the show was both live streamed and recorded for DVD. The live camera mix was directed by Matt Askem and the Green Room area was lit by Francis Clegg, also from Mirrad.

 

The Robe count included 24 x BMFL Spots, 20 x Pointes, 20 x LEDWash 300s, 54 x LEDWash 600s and 8 x LEDWash 1200s. The production lighting also tied in with some of the house lighting rig which has a backbone of Robe fixtures. The BMFLs were positioned in trusses over the stage and also on the deck behind the video screens. At times they were used to silhouette the various artists which included Tinie Tempah, Jess Glynne and Craig David.

 

Fourteen of the Pointes were positioned in an arc from the stage around the back of the room and used for audience reverse and back-of-camera shot fillers. The LEDWash 300s were ensconced in all sorts of nooks and crannies around the venue. They were also rigged in between the Pointes around the back of the hall for additional soft-edged beam effects. The six LEDWash 1200s were used for side lighting on stage. The 600s were dotted all around the stage and on the floor for beamy effects.

 

Jamie Thompson operated all the moving lights and also triggered the media server from his control console that was feeding the playback content to the four scenic screens. Ben Everett operated a second console, taking care of all the key lighting, generics and also calling follow spots.

 

Colour Sound supplied a crew including project manager Alex Ryan who oversaw all their elements including the LED screens, assisted by crew chief Alex McKoy. Jani Fodor was video crew chief working with Colour Sound’s Sam Campbell, and the lighting technicians on site were Alex McKoy, Mel Cornish, Cat Bryan and Haydn Williams. Rigging was co-ordinated by PTG and Simon Ambrose and supplied via Colour Sound.

 

(Photos: David Morrell)

 

www.robe.cz

 

Robe fixtures light YesLive 2016Robe fixtures light YesLive 2016

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